Mixing Basics: Bass - Warren Huart: Produce Like A Pro 

Real and sampled Strings

How to use some if the Abby Road plugins by waves . Also how you use these and which you favor .

Vocal Doubling and Tripling tricks, tape saturation on overheads to tame the hiss, must know tips for the master bus

How about going over different techniques for reverb send fxs, i.e. like using multiple reverbs to create a space, and how you go about processing the reverb sends, which elements you send to which send, and how you control the overall space in regards to each element within the mix? Would really love to see you do an in depth video covering this overall topic and these questions included of course. Thanks for everything you do Warren, your videos are very much appreciated, can't thank you enough for the work you do on this channel!

@@aaronpanganiban4827 This has already been covered in his video on vocal mixing

thanks!

@@Bro.ŽO Welcome 😊

This is a nice little extra!

Really appreciate your effort 👍

or you can use a multiband comp instead of copies 😄

Thanks ever so much! You Rock!

Great comment!....it's exactly that:):):)

AGREE!

exactly

Exactly!!

Nice summation! Thanks ever so much

You’re very welcome

Hi Greg Saltis aw shucks!! Thanks ever so much my friend!!

Thanks for pointing that out my friend!

Yes, very good point. It reminds me of when people nit pick about the quality of photos or 4k videos on RU-vid!

Yes, thank you for pointing this out. I switched out speakers a couple of times trying to find ones that let me hear the subtleties, but knew I was still missing audio. Your comment reminded me that there is only so much I can do on my end.

Yes, but also take into account that we are talking about completely different types of "compression". Codec compression and music compression are totally different things.

Wow, thanks!

Slap it like Marc?!

S L A P

Epico

OMG

BASS

That's awesome man! I'm 3 months behind you in the same boat! I sat and noted down everything so I can give this a go, excited to hear how my DI Bass tracks sound!

How is this different, if you could explain, please. Thank you . ( serious inquiry)

Edwin Crain haha thanks ever so much my friend!!

Thank you, it means a lot!

Haha thanks Clay!

Thanks ever so much

Thanks ever so much!!

Lé Polisher This is where the inconsistency comes from in my experience too, I believe.

Absolutely! Marvellous hint! Thanks ever so much for sharing!!

Fantastic! Glad to be able to help

The Supraphonics Thanks ever so much! So glad to be able to help!

Thanks ever so much Derrick!!

Happy to say i do incorporate all these into my guitar videos on my channel .. Derrick k Asante.

Wow! Thanks ever so much

Hi Victor Buzin Thanks ever so much my friend!!

Thanks ever so much Bobby!

Definitely! I agree that works fantastically! Also the Waves RBass is invaluable! I wanted to keep it stock plug ins that are in every DAW.

Thanks Brodie for mentioning that about Reaper because I know that Reaper and Goldwave are probably all I can use unless I get some old Cakewalk.

Hi David Allen Hammond Thanks ever so much my friend!

That’s wonderful to hear

Great to hear Curtis!

exactly, nice

Fantastic! Glad to be able to help!!

Definitely! Coming soon!!

Here is what I do. If anyone has further suggestions, share please, for my sake as well. First record in M/S configuration to get a wide stereo image that folds down well to mono. Now the mix. If it's a rhythm guitar being strummed, in EQ, shelf cut everything below 3-5K by around +/- 6dB, until you feel it blends in with hi-hats, shaker or other hi-Hz rhythmic components. Hi-pass anywhere from 80 to 1K depending on how much room there is in the mix. You might want to boost the upper shelf by a few dB as well if it's a darker sounding instrument. You can add a harmonic exciter instead. Compress at ratio of between 3 and 5 (:1) with around a 20-40ms attack time (depending on the aggressiveness of the strumming). Drop the threshold until you get around -6dB reduction. I like to set release to the tempo of the song [i.e. 120bpm = 500ms 1/4note, so I might set attack+release = 125ms (1/16 note, w/ say 25ms attack and 100ms release), or even 75ms total (1/32 note) for a more aggressive feel]. Keep the gain low enough that the strumming reinforces but does not completely mask the hi-hats. If it is just guitar and voice, you will take a different approach. After your vocals sound the way you want, use a spectrum analyzer to see what frequencies overlap between guitar and voice and make the appropriate cuts to the guitar to unmask the voice. You can boost the guitar where there is no competition, particularly the very low and very high Hz. Don't hi-pass, or if you do, keep it under 50Hz. If you boost the guitar anywhere in order to bring out it's natural character, make the corresponding cut to the voice. The tracks should fit together like jigsaw pieces. Compress only to the degree that the volume swells (better player will need less or no compression). If the consistency in volume is very bad, you might want to experiment with very low compression ratios (like ~1.2:1) with low threshold (like -40dB) to flatten the dynamics rather than chop the peaks. I often have two compressors going on the track, or a low-ratio compressor and let the bus compression handle the peaks. A bit of saturation before compression on any instrument helps reduce peaks and creates dynamic consistency with gentler compression. It really depends on the sound and feel you are going for. If you are mixing fingerpicked guitar, it becomes much more complicated as you will probably want to make several narrow cuts to tame certain notes that ring out stronger, especially on a 12-string.

Thanks ever so much my friend!!

Thanks ever so much

Thanks ever so much

Fantastic! Thanks ever so much